By going beyond the issues of constructivism and minimal art through a finished
picture, that is reminiscent of the industry’s mass production, his work questions the illusion of the virtual image in face of the imperfection of everyday.

in recent years, the work of the Austrian artist Robert Schaberl acquires a direction
within the contemporary visual scene by standing out in painting with his latest series of acrylic paintings,

Spectrum of Light. What is special about these paintings is the work with light, color and
the ability to reflect the means in which the canvases are shown. These are characterized by the seriality of circles displayed on large-size canvases, which together contain the typical
chromatic ranges of the painter’s palette. What interests the artist is the concentration of light, solving how can develop a quality surface, and expanding it beyond the limits that he proposes,
above all, in the appearance of an imagined center that isn’t the same as a geometric center.

By manipulating color, his work creates a dialogue with the viewer, not only through the
classic frontal view of the painting, but through the varying angles of how it is seen and reflections typical of the mirrored surfaces of these paintings. Consequently, the work turns into a
construction of reality, demanding the bodily kinesthesia of whoever beholds it, displacing the physical body through the chromatic reflection.

In Spectrum of Light, a parallel can be drawn with the work of the Russian constructivist
Kazimir Malevich, White on White (1917- 1918), in the choice of different chromatic levels, within the white of his canvases, which make an order within the supposed white void visible. For
this Russian artist, the image must be studied from its functionality, “in the essence of the formal facts,” through the abstraction of that which is given as an image, through the subject and
the object’s existence that causes its perception. According to the art historian Giulio Argan, in modern art history: “The painting for Malevich isn’t an object but rather a mental instrument, a
sign that defines the existence as an absolute equation between the outside and inner world.”

From the mental role or from the predominance of the color of Scharbel ́s work, going
beyond the difficulties of constructivism and minimal art give way, through a perfect finished painting, to the main question that besieges contemporary man: the illusion of the virtual image in
face of the imperfection of everyday reality. The color of his paintings melts into multiple reflections that disorient the perception. Later, the color scheme and geometric abstraction are only
an excuse to begin a journey through the light waves that broaden the field of visual perception. On top of its creative possibilities, from the color scheme and abstraction, Schaberl still
thinks there are many options in the tonality of the color, surface, concentration, by focusing his attention on the idea of a colored surface that makes up the circular space.

If for art theorist Peter Bürger, avant-garde art, which defines Malevich, comes up as:
“an expression of anguish in the presence of a technique and social structure that seriously restricts the individuals’ capacity for action,” then, the art turns into the defragmentation of the
former autonomy of modern art, through a strong “self-critique” of itself. Along the same lines, the finishing touches of Schaberl’s paintings are reminiscent of the continuous texture of a vinyl
disc, emulating contemporary man’s task, flooded by the excesses of technology and industry.

Without the brushstrokes being visible, his surfaces are called into question through
machinery and their placement in the creative work that was once exclusively done by man. By taking a stand on the introduction to technology in art, the artist considers the camera as an eye
that documents; the computer as a tool to produce and transform sketches in order to define the surfaces, but never as a means of artistic expression.